[Grinner Hester]

Because each minute can vary so much with effects, compositing, sound design, animation, ect., biller per finished minute died out in the 80s. Hourly rates for post houses vary from 600 to as little as 100 per hour depending on market, overhead, speed, and capabilities.

[Grinner Hester]

I wish I could recomend one but I can’t. Today, money can be saved via self distribution. After ahandful of 30 percent keepers and disappointing results, that’s what I’ve resulted to. I guess it’s much like ya hear… if you want soemthing done right…
That’s the bottom line. Nobody will ever be as passionate about your projects as you are.
So what does self distribution include? Lots of cold calling as you can imagine.It’s really no dofferent than any other vidiot marketing themselves.

[Grinner Hester]

You’ll just use the stage lighting. Grab a feed from the audio dude for your audio. You can run it to the wide camera.

[Grinner Hester]

Just charge your day rate for shooting and give em the footage.

[Grinner Hester]

promote your key to 3D, set your track point, then turn on your tracker. You may have better results tracking it in AE.

[Grinner Hester]

capture at work, put that media on it’s own drive, bring that into your mxf folder at home, edit away, then just bring the project back to work.

[Grinner Hester]

I dunno. If not wanting to pay for a production, they should have just had uncle bob utilize his handycam to it’s fullest.
I learned long ago that sometimes the toughest client in the world is the mother of the brise… looking at everything BUT what you had anything to do with.
My favorite line back in my wedding daze:
Mother of the bride in post: Why does my daughter look so overweight!?
Me: Cuz she’s fat.

[Grinner Hester]

I like having the handles to do it. I don’t like being married to a look.
I once worked for a DP who would not only forget to WB before an interview, he’d remember int he middle of it THEN do it. Never did he grasp the fact that it’s easier to fix it and rock on than to then have to match it. I begged him for years to just throw the thing in preset and aim it and finally had to gaff tape his switches in one spot for him.
I, uhm, don’t work for him anymore. lol

I do like lens effects though. There are depth of field and perspective coolnesses that we just can’t nail the same way in post. As far as filters though, man, as an editor, you’ll never see me using them in camera.

[Grinner Hester]

to this day a little panty hose over the lens and some in-camera glows for transitions is a great combo. Today, most of the shooters for ESPN Classic and shows of the like don’t do the in camera glows because they know I have more handles over those in post now. Just wasn’t the case many years ago when both the pantyhose trick and the iris technique were used so much.

[Grinner Hester]

Because no script is involved, I just lay all keepable footage on a timeline with no regard to it’s running time. I then go through that subtractively as needed to meet my required running time. Once I’ve told the story, I hit with a pass for b-roll and music, then from the top with sweetening, effects, animation, ect. I always do the polishing last so I don’t waist time on content that may wind up on the cutting room floor.
I capture everything. All of it. Much of the time with nonscripted content a shot that isn’t a shot at all works best to stitch things together. It may be a swish pan between two shots or a shakycam moment otherwise passed up when logging or capturing.